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Friday, April 30, 2010

David Cooper Departs Midas & Klark Teknik To Form Consulting Firm

David Cooper has announced that after 18 years at the forefront of Midas and Klark Teknik, he has formed David Cooper Consulting.

“I’m absolutely thrilled to be in a position to now offer my services to other manufacturers,” says Cooper. ”Fronting Midas’ exceptional sales and marketing team for nearly 20 years has been an honor and a pleasure, but over the last few months I’ve had a strong desire to be in charge of my own destiny. At Midas, we’ve had some good times; we’ve had some great times, but if I don’t do it now, I never will!”

Cooper continues, “There will be speculation that my departure has something to do with the new owners of Midas Klark Teknik but this could not be further from the truth. Midas and Klark Teknik are profitable, in extremely capable hands, have a stable vision for long term growth that remains true to the brand values and have already received considerable investment from the Music Group. I have nothing but optimism for the future success and growth of Midas and Klark Teknik business on a global basis.”

He adds that he is determined not to lose touch with Midas, the brand he has loved and cherished for so long. “It seems it is possible to have your cake and eat it,” he notes, “and I’m delighted to announce that Midas and Klark Teknik are the first clients of David Cooper Consulting, which will exclusively represent both brands in Asia.”

John Oakley, Managing Director of Midas Klark Teknik, states, “I am incredibly sad to see David leave the company after all he has done for our brands and his record speaks for itself. However in equal measure we are delighted to start using the services of David Cooper Consulting and fully expect a mutually beneficial, long term relationship.”

The philosophy of David Cooper Consulting is to provide focused, long term sales and brand management services to an exclusive number of pro audio manufacturers. The select few that the new enterprise will go into partnership with will benefit from the company’s strategic approach to brand management as well as its extensive global network of relationships built up over a generation.

David Cooper Consulting Website
Midas Website
Klark Teknik Website

Audiofile Engineering Releases Backline Calc 2.0 for iPhone OS

Audiofile Engineering has released Backline Calc 2.0, an update to their audio calculator app for Apple iPhone and iPod touch.

Backline Calc is a valuable tool, featuring more than 20 calculators and converters.

“Playing, teaching, practicing or writing music, mixing live sound and producing music all involve calculations and conversions of musical and technical data,” says Matthew Foust of Audiofile Engineering.

“Backline Calc lets you calculate musical, acoustic, video and even electrical data quickly and easily, so you can get on with the music and not the math.”

The Backline Calc app is free to download and includes three basic calculators: Note Length, Frames to Time code, and File Size.

The rest of the calculators can be purchased and unlocked directly from within the app.

The acoustics calculators include Distance to Time, Time to Distance and Sound Pressure Level. The electrical category includes Compare Power and Compare Voltage calculators. There is also a Files calculator for converting sizes of audio files.

In addition to a newly designed, streamlined interface and a fully integrated Help feature with examples and instructions, version 2.0 includes a new Time to Samples calculator as well as the addition of a Tap Tempo and number keypad for easy tempo input.

Backline Calc 2.0 is now available in the Apple App Store.

Audiofile Engineering Website

Guitar Center Helps Indiana Nazarene Church With Worship Facility A/V Needs

When Indiana’s Valparaiso Nazarene Church decided to invest in a brand new facility, it worked with Guitar Center Professional (GC Pro) to select a wide range of audio products with complimentary support and consultation.

The new eight-million dollar facility features a 1700-seat venue that is used weekly for worship services and live concert events, plus it also has an audio/video production studio used to produce the church’s various DVDs, CDs and Podcast materials.

To make certain the new facility’s audio/video and lighting systems would be exactly what the church needed, GC Pro’s account manager Dan Scalpone worked closely and collaborated with one of the church’s Worship Leaders, Jake Randall, in choosing everything to keep Valparaiso Nazarene at the cutting edge.

“I just randomly called Guitar Center, I got ahold of Dan at GC Pro, and told him I’ve got this huge project,” stated Randall.

“I just have a bunch of questions and I need pricing,” and Dan said he would love to help. It was just from that one phone call that the relationship started between GC Pro and myself. To this day I call him anytime I need anything for our audio and video systems.”

What Dan Scalpone did was help Randall make the church’s vision of a state-of-the-art venue and production complex a reality. “He went above and beyond,” Randall commented, “Dan and the GC Pro team drove out here, looked at the facility and began advising me on what equipment would streamline what we had envisioned.”

“And the only reason we are up and running today as efficiently as we are is because of Dan and GC Pro. They went through everything with a fine-tooth comb and nailed everything down. Truly attention to detail.”

The centerpiece of the audio system at Front-of-House position is a Digidesign VENUE D-Show System, which is based around the VENUE D-Show console and employs a VENUE FOH Rack and Stage Rack processing and I/O system.

FOH at Indiana’s Valparaiso Nazarene Church

This configuration allows Randall the flexibility to handle any situation or performance that might come into the venue.

Other equipment includes several Apple computers, wired and wireless microphones from AKG, Audio-Technica, Earthworks, Heil, Rode, Shure, and Sennheiser, an AJA Ki-Pro Portable Digital Disk Recorder, and much more.

Randall continues, “It’s actually really funny, when we get artists such as Contemporary Christian musician Jeremy Camp in to perform, they don’t have to bring any gear with them because they don’t need to.”

“They use all of our lights and lighting console, all of our rigging, our front-of-house VENUE board, our line array system, everything. For most bands, they can walk into our sanctuary and have everything they need. I owe that to getting the right advice and equipment from GC Pro.”

The church has come a long way from its original dwelling that began in a tent in 1924. Today, Valparaiso Nazarene Church ministers to close to fifteen hundred people every week, and Scalpone likes to think that GC Pro is partly responsible for its members coming back year after year.

“They wanted to create a venue that really stood out from a technological standpoint and utilize newer technologies to create a unique worship environment and great live experience for the congregation,” stated Scalpone. “Working closely with Jake, we were able to put together a comprehensive package of equipment solutions that not only did everything he needed, but was well within their budget. That is a true partnership.”

Guitar Center Professional Website

Reidel Provides Comminications Solution For Emmy Award Winning Red Bull Air Race

The Red Bull Air Race World Championship received a prestigious Sports Emmy Award from the National Academy of Television Arts and Science in New York.

The Red Bull Air Race World Championship program, which is broadcast in the U.S.A. on Fox Sports Network, won in the category “Outstanding Technical Team Remote” which recognizes the technical portion of sports programs in remote venues.

The program for FSN is produced by the American company G.R.A.C.E Productions together with the Austrian based production company West4Media as well as Riedel Communications, SiVision and Sky Media.

For the seventh year in a row, Riedel Communications is serving as the official global supplier of the Red Bull Air Race World Championship.

Riedel is providing the entire communications and signal distribution solution for the event, integrating both HD video and audio signals as well as wireless and wired digital intercom systems.

Additionally, Riedel is supplying the HD cameras and RF links for the race planes’ onboard cameras enabling pictures to be delivered from the pilots’ perspectives.

Riedel Website

True Systems PT2-500 Mic Pre Now Shipping

The PT2-500 mic pre and DI from True Systems is now shipping.

The PT2-500 features up to 70 dB of high-headroom, low-noise microphone gain.

A high-quality direct input provides a THRU jack for amping or effects. As well, switchable phantom power, 80 Hz high pass filter, and polarity reverse provide flexibility in a compact

Descendant of the TRUE Systems Precision 8, the PT2-500 conforms to the modular 500 Series format.

Like all TRUE Systems preamps, the PT2-500 boasts a frequency response from1.5 Hz to 600 kHz .

“More so perhaps than any other mic pre manufacturer, TRUE Systems is a natural fit for the 500 Series,” said Brad Lunde, president at TransAudio Group, the U.S. distributor for TRUE Systems.

“Engineers have been asking for the PT2-500 for years as the 500 Series format is quickly becoming the de facto protocol for modular gear.”

True Systems Website

Klein + Hummel Monitors Chosen By CTV

The Canadian television network CTV, which delivers a wide-ranging mix of programming to its viewers including many homegrown hits and informative news programming, has upgraded its monitoring environment acros the board.

To maintain its high production standards and to standardize across its many facilities, the network will be relying on over four hundred Klein + Hummel studio reference monitors for nearly every stage in its production process.

The large purchase of K+H monitors came in anticipation of the Winter Games in Vancouver, as CTV, together with Rogers Media, outfitted the international broadcast center.

“We had a huge number of television production control rooms to fill,” explained Paul Sellers, manager of audio operations and technologies for CTV Television Inc. 

“And while the speakers were used initially in Vancouver, we intend to use them for the 2012 Summer Games in London and other major events throughout Canada.” ”

Also, one-hundred-fifty Klein + Hummel monitors had joined CTV in 2006 when the broadcaster purchased CHUM, a network that had already switched over to those monitors.

“My background is in TV production, not music production,” noted Robert Miles, audio and communications engineering manager, CTV/Rogers Consortium. “I think there is less predictability with regard to the final playback medium in television. Some people will watch on a finely tuned, multi-thousand dollar home entertainment system while others will watch the exact same program on a small TV tucked between the blender and the coffee maker on the kitchen counter.”

“The audio that we produce at CTV has to translate in both of these environments – and everything in between. These monitors have what I would describe as a ‘simple’ sound. I don’t really hear the speaker, just the program material.”

He continued, “I’m also impressed by how robust the K+H monitors are to room conditions. I first heard them in their showroom in Germany, which is remarkably realistic.”

“There are desks around, as there would be in a “real” studio environment and the room treatments are modest, again, as they would be in a “real” world situation. The speakers sounded great in the showroom, and are very consistently transparent across the range, from the O 300 to the O 110 and even to the M 52.”

“During our setup for the Winter Games, we used a number of simple drywall rooms for our editing and audio production suites. Even before we put up some simple acoustical panels to cut down on flutters, they sounded way better than I could have possibly hoped.”

K+H monitors

Shure Celebrating 85 Years In Profesional Audio

Founded in 1925, Shure Incorporated celebrates its 85th year in the Professional Audio industry this week.

Used by some of the largest names in history including Elvis Presley, Martin Luther King Jr., and every U.S. President since Lyndon Johnson, Shure Incorporated has enjoyed a long history. Today, the company offers a wide product portfolio that puts professional-grade audio products into the hands of performers, system designers, and content creators at all levels of experience and in a wide variety of applications.

“We’re honored that our customers and channel partners have helped us to achieve 85 years of success in the professional audio industry,” said Sandy LaMantia, President and CEO of Shure Incorporated. “The company’s history of success is a tribute to our founder, S.N. Shure. His dedication to quality and service is evident in every Shure product and every Shure Associate.”

See related articles:
History of Shure
Timeline of Notable Shure Achievements
Perspective of Shure’s Michael Pettersen

Shure Incorporated Website

Thursday, April 29, 2010

Front Of House Engineer Wayne Trevisani Utilizing VENUE D-Show For Maxwell’s R&B Tour

For a live sound engineer, few gigs are more challenging than mixing an old-school audio aficionado, but for veteran Front of House Engineer Wayne Trevisani, it’s just another day at the office.

When R&B superstar Maxwell kicks off his BLACKsummers’night tour this month, Trevisani will be mixing the 10-piece band at the helm of a VENUE D-Show System.

“This time out, Max really wants to go back to a true old-school R&B vibe,” says Trevisani, “and you don’t get much more R&B than the guys in this band. They’re all such subtle players, and there’s a huge dynamic range to deal with. I mix [the band’s sound] very dry, like a ’60s R&B record, so everything’s very punchy, very in your face.”

Maxwell’s audio standards are also exceptionally high, notes Trevisani. “Max has great ears, and he knows exactly what he wants to hear. Sonic quality is a top priority for him.”

Trevisani’s whose diverse FOH credits range from Iggy Pop and Ted Nugent to Julio Iglesias, Dolly Parton, and John Hiatt. Between tours he spends his time mixing records in his Pro Tools-equipped mixing/post production facility near Philadelphia.

“I’m an old-school engineer who came up on analog—live and in the studio,” he says. “I’ve mixed on most every analog console, and I know the sound I’m looking for. So when we made the leap to digital, we did some really critical console comparisons. And VENUE won, hands-down.”

This analog traditionalist has adapted nicely to the VENUE system’s digital benefits. “In the analog world, I was a real minimalist,” Trevisani admits. “I’d never daisy-chain multiple devices. But in the digital domain, I can put four plug-ins on every channel, with no degradation of signal.”

Trevisani favors the Waves Renaissance and C4 Multiband plug-ins for Maxwell and the band. “And I love the fact that I can install new plug-ins, and get new features via software upgrades, without having to buy a whole new console. To me, it’s exciting to have that kind of control over my sound.”

Trevisani points to the VENUE system’s snapshot automation as a critical feature.

“There’s so much musical diversity in this show, and it’s really useful to be able to assign plug-ins to do different things on different songs,” he explains. “I can get really creative with the snare drums, use different compressors on the bass—stuff that until recently would have been inconceivable in live sound.”

Part of the band’s unique sonic signature comes from drummer Chris Dave, whose kit comprises a kick and four snare drums. “He tunes one snare down almost to floor tom pitch, which gives it a nice, sweet low-end thump,” says Trevisani. “Then he alternates between the other snares for different songs. Being able to set up different snapshots really helps me keep a handle on it.”

The ability to interface a VENUE system directly with Pro Tools is another huge plus for Trevisani. “(Maxwell’s producer) Hod David and I talked about (integrating Pro Tools recording) before the tour, and we agreed it made no sense not to record the shows. So I put together a Pro Tools|HD 3 rig, and we’ll be mixing some of the tracks for possible release as a live CD or DVD.”

Those recorded tracks also enable Trevisani to perform Virtual Soundchecks, saving time before each show. “It’s great for me, because I can pull up last night’s show and have things pretty much dialed in before the band’s done setting up,” he explains. “And I can use the tracks to set up new snapshots, so I can play around with little touches like panning guitar parts or other intricacies.

“For me, the VENUE workflow is very ergonomic,” he continues. “The layout is so intuitive, it’s really easy to get to everything. When you’re working with a 10-piece band, you really have to have everything right there. And the system is just rock solid, day in and day out.”

But ultimately, Trevisani says that sonic quality is still key. “You could have all this cool technology, but if it doesn’t sound good there’s no point,” he says. “I get the opportunity to present one of the best R&B voices in the world, and the VENUE system helps me to do that brilliantly, show after show. When Max listens back to my live recordings, he’s always telling me how warm it sounds. When I get compliments on the sound from the artist and fans alike, that makes me feel great.

“I love having this kind of control over my sound,” Trevisani concludes. “To me, this is exciting, because these guys at Avid are really getting it right.”

Avid Website

AKG Announces New 700 MHz Wireless System Trade-In/Rebate Program

AKG has just introduced a new trade-in rebate program that allows owners of any old 700 MHz system to trade it in and receive cash rebate following the purchase of a new AKG non-700 MHz band wireless system, or components that comprise a system.

The new program extends to any 700 MHz wireless microphone system owner who is looking to upgrade or replace their existing system.

Whether customers are trading in an AKG product or other brand product that contains compatible wireless components, users can receive a rebate of up to $500 when they exchange their old system for a new AKG wireless system, or a new AKG receiver along with one or more transmitters.

To receive the rebate, a new wireless system must be purchased between March 1, 2010 and June 30, 2010 from an authorized AKG USA dealer, the rebate form must be filled out and then sent in to AKG USA with the original UPC label from the new product, a copy of the purchase receipt, and a complete 700 MHz band system.

There are a variety of different combinations of AKG products that can quality for the rebate: Along with the WMS40 Pro, WMS40 Pro Dual, WMS40 Pro Flexx, and WMS450, users can group either the SR4500 or DSR 700 2-Channel digital receivers with the PT4500, HT4500, DPT700, or DHT700 transmitters, but the purchase must include at least one receiver and at least one transmitter.

Additional transmitter rebates may be offered if the transmitter purchases were made in connection with the receiver purchase, or if there is a corresponding transmitter for every transmitter-rebate request. The AKG IVM4 In-Ear Monitoring system is also included in the rebate program.

Unlike other trade in programs where little or no rebate is provided when trading in other brand equipment the AKG rebate program is based upon the new AKG system you buy and not on the system or brand of product you trade in, just as long as the trade in system is in the 698-806MHz band and meets the criteria of the program.

“This new rebate program is another example of AKG’s dedication to customer service,” Joseph Wagoner, product manager, tour/installed/wireless sound at AKGUSA. “It provides tangible benefits to anyone with a 700 MHz system by allowing them to stay up to date with the most recent wireless microphone technologies from AKG regardless of the brand of 700MHz system you trade in.

“And the rebate is real money and not a discount certificate off the price of a future purchase of that brands product so this adds real value to the program for new and existing AKG customers who are looking for a real cost saving on replacing their old systems.”

For more information on the AKG Acoustics USA’s wireless rebate, download the PDF Mail-in Rebate Form or contact a participating AKG dealer.

AKG Website

PreSonus Announces Significant Studio One Update

PreSonus has announced version 1.5 of its Studio One DAW software.

This major free update adds so many new features and enhancements that the company decided to skip the previously planned version 1.1 and go directly to this more advanced version.

Key additions include support for video playback and sync for composing to picture, major enhancements to the Browser’s drag-and-drop capabilities, the ability to draw your own automation waveforms, automation points that are locked to events, a new key-command editor, changing tempos within a event without slicing the event into separate events, and support for song and album art.

A built-in SoundCloud client enables you to upload audio files from Studio One directly to the Web.

The MIDi features have been improved, including a new MIDI file player in the Browser. Also enhanced are the Native Effects plug-ins along with the addition of new plug-ins.

Version 1.5 is now available from the PreSonus Website. Video detailing the central features of Studio One is embeded below.

 
PreSonus Website

Sennheiser Designates Northern Sound & Light A Premier Dealer

Northern Sound & Light, a pro audio and lighting dealer in Pennsylvania with a vibrant online presence, recently received the exclusive Premier Dealer Designation from Sennheiser USA, the leading manufacturer of microphone technology and systems. 

As part of Sennheiser USA’s Premium Professional Audio Resellers group, NSL joins a select group of professionals who are recognized for their outstanding customer service to Sennheiser end users and who are knowledgeable about the technology and applications for Sennheiser products.

For new and existing NSL customers, it means the same level of high-quality service that is the basis of NSL’s business philosophy.

“Sennheiser’s premium dealer designation is reserved for resellers who protect the brand, show it the proper way and show a real commitment to helping customers make educated product choices and supporting them after the sale,” says Ted Bahas, chief executive officer of Techrep Marketing, an independent Sennheiser representative serving the Pennsylvania region.

“Since becoming affiliated with Sennheiser nearly 10 years ago, NSL has consistently grown its Sennheiser product sales by working hard to understand the needs of its customers.”

Steve Raslevich, president and founder of NSL, says, “It is with great pride that we join Sennheiser’s Premium Professional Audio Resellers group.”

“That level of recognition from such a leading global brand validates our continued commitment to award-winning service and top name brands at the maximum discount price.”

Previously, Sennheiser recognized NSL in 2004 with a Special Achievement Award for their sales support of the Sennheiser brand and product line.

Sennheiser Website

Sacred Sound: Getting Our Priorities Straight

Who is soundcheck for, anyway? Sounds like a silly question, at least until you start talking with the worship teams and tech crews at a lot of churches.

Then the realization begins that in fact there are some different perspectives floating around out there.

From my perspective as an audio engineer, soundcheck is not the process of setting up the microphones or making sure that everything is working properly, and it’s not a time for the worship team to rehearse its music for the day.

Rather, soundcheck is what happens in between those two processes, a time of mutual benefit to the tech crew, musicians and singers.

You can actually divide it into three parts ­ the technical phase, the vocalist/player phase, and the worship team phase.

In the first part, the sound team refines the gain structure and the sound character of each individual instrument and vocal.

This process allows the mixer to work out any last moment problems that might occur with the gear, like a mic cable that starts to fail, or a dirty connection in a patchbay that finally shows up. (And you thought it only happened to you!)

Once the console settings are at a good starting point from which to build the front-of-house mix, the musicians can begin to ask for refinements in their monitor mixes. With the players content with their monitor mixes, the vocalists can start to refine what they’re hearing as well.

“Personally, I like to build in blocks, working with one input at a time.”

What I call the worship team phase involves everyone. It may help to understand that I consider the tech crew, the musicians and the vocalists all to be equal members of the worship team.

Each member is offering up their gifts to God, and it only comes together when everyone in the team gives it their all.

This final part of soundcheck allows the musicians and vocalists to start rehearsing their songs while the tech crew begins to rehearse their mix. In every rehearsal, the vocalists make subtle adjustments to how they’re going to sing their parts, even changing who takes which harmony part.

The keyboard player locks in on which chord inversions he or she plans to use, the guitarist works out chords and begins to add stylistic nuances to the sound, and so on. The musicians have a right to know that all of the work they’re doing so carefully will be heard in a balanced musical mix for the congregation.

Getting The Whole
What many musicians and vocalists don’t understand is that there are a great many subtle adjustments that the tech crew can do as well with the mix that will accent and enhance what the musicians and vocalists are doing on stage.

That cool skank guitar line should be heard in proper perspective in the mix. That bass guitar riff that only happens once, coming out of the bridge, needs to be heard.

Adding a slight flanging effect to the backing vocals only during the chorus can really make the parts jump out.

Fitting a single-repeat echo on the worship leader’s part in just a couple parts of the song, or even just a couple of words in the song, works incredibly well if it’s placed right in the same tempo as the song.

The only way that the sound mixer is going to know that those parts exist, understand how those refinements can and should fit in his mix, and be prepared to pull off whatever is necessary to make it work each time the song is played, is through careful listening and time ­ lots of it.

“The sound team refines the gain structure and the sound character of each individual instrument and vocal.”

There have been many times when the players and singers decide they’re confident that they know the song and move on to the next, or decide to take a break, and I’m left there hanging, only partly done creating the sound that I was going for.

Understand that this is a two-way street. I can’t expect someone playing an electronic keyboard, for example, to play for me so I can work with the FOH sound, without them being able to hear some of that keyboard sound in the monitors. Yet I can’t properly set the gain structure for that instrument without having them play the instrument.

A question I often get asked is which do I set first ­ the FOH mix or the monitor mix? And the answer, of course, is both. The problem is when the player expects the sound of the keyboard to be perfect in level and sound character from the first note. Perhaps shock therapy would work in these cases!

Building The Mix
If the worship music style includes a rhythm section or a number of instruments, then the soundcheck allows the mixer to start building the mix. Each sound tech may use a different approach to building the mix.

Personally, I like to build in blocks, working with one input at a time.

In other words, I’ll start with the kick drum, then the snare, check to see how they work together, then add the rack toms and floor tom, then finally include the hi-hat and cymbals.

Then I’ll work with the bass guitar sound, check it with the kick and snare, and then check how the bass guitar and the full drum kit fit together.

Once I’m confident that I have a solid foundation upon which to build the mix, then I’ll move to the keys, guitars, other instruments, then backing vocals and finally the worship leader.

My process can frustrate a worship team that wants to hear something consistent on stage during the soundcheck because I’m frequently pulling things up and down in the FOH mix as I work my way through it.

While this doesn’t affect their monitor mix, they can certainly hear the FOH changes from their location on stage, and those changes can be disconcerting.

Necessary Components
But from my perspective, the soundcheck is mine. It’s my time to use as needed.

It’s the period when my needs to get the FOH mix together have to come first, and I have to be in control of how we use that time.

That may sound selfish, but it’s a necessary component if we’re going to achieve technical excellence together.

Once we enter the rehearsal time, then the playing field levels out and the needs of the tech crew and the players/vocalists are equal and should be worked out together.

Another approach voiced by several seasoned sound mixers is philosophically the opposite of my approach.

They prefer to keep all of the instruments and vocals up in the mix at all times so that any EQ choices or level changes can constantly be evaluated as a whole rather than individually.

That’s a tremendously valid point, and I would simply say go with what works for you.

I can easily see the players and singers jumping to the defense of this second approach, since it supports their desire for more consistency during the soundcheck.

“Then the realization begins that in fact there are some different perspectives floating around.”

However, the reality is that neither approach will necessarily deliver a better end result than the other.

On top of that, those on stage aren’t the ones mixing, and they aren’t the ones who will catch the heat if things don’t sound great, so each individual sound mixer has to use the approach of building a mix that works best for them.

I will say that I’ve found myself in recent days virtually forced by exceedingly short soundcheck times to keep the full mix up and learn how to achieve the results I’m looking for quickly and accurately without having the luxury of isolating individual parts, at least not to the degree that I’m used to doing.

Enjoy The Process
The soundcheck is a handshake, if you will, between the tech crew and the worship team. The end result should be one of joyful abandon during a worship service.

Yes, it’s O.K. for the tech crew to enjoy the worship service as much as the worship team. I can’t exactly throw my head back, close my eyes and worship God like the vocalists might be able to do. If I do, I’ll likely miss a cue or create a problem. But that doesn’t mean that I can’t have fun and enjoy the process.

The bottom line is to help you engage in a conversation between the worship team and tech team that will help all come to an understanding and agreement about the objectives of a soundcheck.

I’ve witnessed worship teams say things to tech crew volunteers and production staff that, shall we say, they wouldn’t have said if Jesus were standing there. I’ve also been around worship teams and tech teams alike saying stuff about the other “side” that they shouldn’t have been saying.

When you get down to the bottom of all that strife, it generally turns out to be a lack of understanding.

Some music pastors and many musicians and vocalists think of the tech crew as subservient to them.

Unfortunately, some tech crew leaders think more highly of their efforts than they should, as well.

The reality is that every one of them needs to come to the understanding that they’re all in this together, that each musician, singer, worship leader, sound tech, lighting tech, video graphics tech, and so on are all equal members of the same team, striving together toward a common goal.

Why am I so hot on this topic? Because through Church-Soundcheck and my work as a consultant to churches, we hear about this kind of strife happening every week.

“The soundcheck is mine. It’s my time to use as needed.”

We often find ourselves counseling or at least consoling some embattled tech guy, music pastor or player. We even hear from musicians who are tired of tech guys beating up on the players and singers.

It doesn’t have to be that way. Our time on this planet may be short. Jesus may be back sooner than we think.

I would suggest that it’s way past time that we lay down our petty personal goals ­ let’s learn to enjoy our time of worshipping together.

It’s an honor to serve the needs of technical excellence for great players, singers and music pastors. It’s no fun when those individuals are full of themselves and acting like idiots. I’ve worked with both.

I’ve looked, and can’t find anywhere in the Word where it says that we’re supposed to be at odds with one another during a worship service. So let’s choose to worship God together and get on with the task at hand.

Curt Taipale heads up Church Soundcheck, a thriving community dedicated to helping technical worship personnel, and he also provides systems design and consulting services.

Lincoln Center’s David H. Koch Theater Undergoes Massive Renovation

The David H. Koch Theater, part of the Lincoln Center for the Performing Arts in New York City, has been home to the finest ballet and opera performances since opening in 1964.

Formerly the New York State Theatre, the historic structure was originally built as part of New York State’s cultural participation in the 1964-1965 World’s Fair.

During a multi-million dollar renovation that began in 2008, funded by billionaire philanthropist David H. Koch, the massive overhaul encompassed structural and architectural improvements, and eventually included a revamp of the theatre’s main audio system from analog to digital.

Abe Jacob, a renowned audio mixer/sound designer and the theatre’s Sound Supervisor worked in tandem with Lew Mead, Director of Autograph A2D, and Group One Ltd, both U.S. DiGiCo distributors, to spec in an SD8 console.

Both decided that the SD8 was an ideal choice, in terms of size and onboard features, for the theatre’s numerous requirements.

Through his work at the theatre, Jacob had enjoyed a long relationship with Autograph, and in fact, employed one of the first DiGiCo D5T’s in the city on the production of Rodgers and Hammerstein’s “Cinderella” in the spring of 2004.

For the majority of his lengthy career, Jacob has been instrumental in moving the profile of theatre sound to the forefront, in part due to his extensive background working in the rock and roll arena mixing for iconic bands such as The Mamas & Papas and Jimi Hendrix.

On the suggestion of Hendrix manager, Mike Jeffries, he moved to New York City in 1971, taking over the management of the guitar legend’s Electric Lady Studios. At the same time, Jacob was extensively involved in designing theatrical events, eventually transitioning into theatre full-time.

“My goal early on was to approach theatre sound like that of a concert,” he muses, “not in volume or in the extensiveness of it, but merely that the operator should be in the same room as the audience to hear what was going on.

Up until that time, the theatre soundman was usually the assistant electrician who usually just turned on and off the power from a simplified power mixer from backstage. I think what I brought to the theatre was involving the sound operator as part of the production.”

When an extensive renovation of the Koch Theatre began in 2008, it was an opportunity for Jacob to wield his influence on the sound component of the theatre, even though the audio equipment was never part of the initial revamp discussion.

“Two years ago, the first part of the renovation was in essence to increase the size of the orchestra pit and to allow for a better stage for the performers,” explains Jacob, who is also the audio consultant for City Opera.

“At the same time, the stage was put on a lift so it could be raised or lowered to various heights, and the electrical infrastructure for the lighting, sound, communications and video was replaced.”

“As the renovation got more detailed, the work included architectural renovation to the theatre sidewalls and removal of the carpet to make it more acoustically friendly for the onstage vocals, which has always been a major problem since the theatre was originally designed for dance. “

“A section of the original continental seating was removed to include two side aisles, which did improve the acoustical response, but still nothing in respect to the sound had been discussed. As we got more involved, bringing the theatre up to code for ADA accessibility requirements, an epaulet in the new area had to be installed.”

“The only place to do so was the area of the existing sound booth. What was small to begin with, was literally cut in half in overall size. I was able to use that as a pressure to replace the existing analog console, which would’ve been too large for the new space, with the DiGiCo SD8.”

The desk proved to be the right solution for the theatre.

Not only did it physically meet the requirements for the space, but also could also handle the sound enhancement and reinforcement required by the City Opera and the New York City Ballet, who are the two main tennants of the theatre.

“Even though I’m from the old world of the theatre,” Jacob laughed, “I was adamant that we had to go digital.”

“It was the thing to do, even though I was scared to death of what could happen between layer one and two.”

“But the SD8 has proven that, without difficulty, I could sit down and make sound out of it. And if I can do it, anyone can!”

The primary function of the SD8 is to provide 14 channels or so of orchestral microphones that feed the onstage monitors for the dancers and singers, and another 6-8 area mics depending on the show or the opera, to feed backstage program, listening-impaired system, and various program needs throughout the building.

“We are using internal effects in the desk for some reverbs, a lot of the audio delay and EQ functions,” Jacob details, “but some of the other internal effects haven’t gotten a lot of use—not to say that that we’re not going to use them in the future, but we’ve got no absolute requirements for them at this point.”

In addition, the SD8 is used for the stereo direct-to-disc archival recordings of each of the first performances. “The Ballet records on DVD and the Opera records directly to audio,” adds Jacob, “and so we have a simple stereo mix out of the desk to those audio capturing devices.

Also, in the renovation, both companies desired to have a complete high definition audio/video capture suite included so they can do their Webcasts, TV broadcasts and archival recording for both DVD and 5.1 audio, so we do a stereo feed back and forth to them, but they’re recording to multi-channel audio capture that is totally separate to our usage of the SD8.”

Since its installation last year, the SD8 has proved a great fit for both the theatre and for Autograph. “For us,” says Mead, “it was so important to develop the relationship with DiGiCo, A2D and Abe, and it proved to work out well.”

“We loaned desks for a while, did a few productions and made sure the desk worked well work for them, and then we were there for them when it came time to purchase.”

“I have a great deal of respect and trust in the personnel behind DiGiCo’s manufacturing, and in my lengthy relationship with Autograph’s Lew Mead and Andrew Bruce. With the quality of sound that we were able to achieve previously with the D5T, it seemed that the SD8 would be the natural progression.”

“We’ve had it in operation since last November and it has proven over and over again to be exactly what we wanted. The sound has become a vital part of the theatre; I think it’s now the fourth design element—aside from costume, scenery and lighting—and in some instances, is as important as anything else. It allows producers to do productions with the benefit of a sophisticated sound reinforcement system.”

DiGiCo Website

Lincoln Center for the Performing Arts Website

Designer Notebook: Inside The Development Of The New EAW KF740 Line Array

This Designer Notebook was submitted by EAW. Live Sound/ProSoundWeb makes every effort to eliminate any use of marketing-inspired hyperbole.

From the outset of the development process, the new KF740 line array module has been conceived as a medium-sized, flexible package capable of meeting the widest possible range of touring and installation applications, while providing exceptional sound quality as well as efficiency.

Further, it needed to provide full-range performance as a stand-alone line array system as well as be easily integrated into existing KF Series line array structures.

Other primary factors on our list included light weight, fast flyability and convenient cartage - all especially important for portable applications.

We started the design process at a logical point by incorporating the most valuable characteristics of other KF Series modules, led by consistent broadband pattern control, which we view as one of the more critical attributes to the performance of a professional loudspeaker system.

Lack of pattern control inhibits the creation of functional arrays and limits the ability of a loudspeaker to properly cover a given audience area.

However, maintaining it across the frequency range is not an easy task. Proper pattern control requires that the source size is proportional to the wavelength produced by those sources.

In essence, larger wavelengths require larger sources. Horns provide the means to effectively increase the size of a source.

Pattern Control
In 2001, EAW introduced the first completely horn-loaded 3-way line array module, the KF760, with the goal of providing the highest possible degree of pattern control throughout its frequency spectrum.

In fact, the KF760’s front surface is entirely occupied by horns, and this same approach was engineered into a much smaller package, the KF730, which offers 110-degree horizontal dispersion (and 12 degrees vertical).

With the new KF740, a large MF/HF horn also occupies the entire front area of the enclosure to provide control at the lowest range of the mid frequency devices.

Horizontal dispersion is 90 degrees by 12 degrees vertical. HF (1,220 Hz to 20 kHz) is supplied by dual 1.4-inch-exit compression drivers, flanked by dual 8-inch cone drivers delivering MF (255 Hz to 1,373 Hz).

Top: Woofers in the KF740 are arranged in dual phase-aligned pairs, mounted to the sides of the enclosure. Bottom: The horn has an assortment of diamond-shaped openings that minimize the interference presented to the HF.

The desire for extremely tight pattern control was also a focus of the LF design, where response is extended down to 50 Hz.

The KF740 LF section utilizes four 10-inch woofers, in dual phase-aligned pairs, mounted to the sides of the enclosure. Spacing a pair of transducers is much more effective than using a single transducer when pattern control is required at low frequencies.

For example, within its bandwidth in a KF740, an ideal single 10-inch woofer’s response is completely omnidirectional. However, adding a second woofer and spacing it appropriately allows the two woofers to create off-axis cancellation.

This cancellation occurs at the wavelengths that are roughly twice the spacing of the woofers and below the point at which the individual woofers begin to exhibit directivity.

By placing the woofers on the sides as well as the front, the KF740 utilizes the entire width of the enclosure to space the woofers as far apart as possible. This allows the KF740 to maintain pattern control at a lower frequency than that which would otherwise be achieved by only using front-firing woofers in the same size enclosure.

And, the enclosure is sealed so the 10-inch transducers enhance the accurate reproduction that is extremely responsive to any necessary equalization.

Transient Response
Another key factor in loudspeaker design is transient response, and this is optimized with a proprietary technology called Concentric Summation Array (CSA) technology.

Essentially, CSA is an assortment of diamond-shaped openings for the mid frequency device that randomize and minimize the interference presented to the high frequency device.

Although not concentric, or coaxial, the KF740 uses the same technology to minimize the interference in the high frequency range.

Rather than one large aperture for the mid frequency, the opening is broken into several smaller diamond-shaped openings providing a consistent and minimal percentage of open area.

This reduces the amount of HF energy (emanating from the high frequency transducers) that can enter the void formed by the mid frequency devices and hence reflect back out at a later time.

HF response is significantly improved as the amount of reflected energy is reduced.

In addition, the apertures that fall in front of the central part of the MF cone are also located farthest back in the horn bell and therefore are closest together horizontally.

Because the upper frequency range of the MF generates from the central part of the cone, the configuration prevents unwanted beaming at the upper range of the mid-frequencies.

Then there is the aspect of horizontal symmetry. In our view, single section pass-bands on one side of the enclosure or the other produces output that is inherently asymmetrical.

Although the listeners are often a great distance from the loudspeaker array, the asymmetric design is hard to ignore and generally quite audible.

It might seem intuitive, then, to place the HF section in the middle of the cabinet, flanked by the LF section to one side, and the MF section to the other.

Above, non-processed response measurement of the KF740; below, the processed response measurement.

But this can cause abnormal summation characteristics between the MF section and the LF section due to the additional spacing between these sources.

Our approach with the KF740 and all EAW line array modules, on the other hand, keeps the spacing between individual pass-bands to a minimum.

The design is completely symmetric, creating identical sound reproduction on both sides of the loudspeaker/array.

Further, a passive low-pass filter drives the side-firing woofers to help prevent unwanted lobing, as well as to foster integration of the LF pass-band with the MF pass-band.

Another benefit of the symmetrical approach is a 50-50 weight distribution left to right, which helps balance arrays as they hang from a single point off the center of the fly bar.

Finally, sonic quality starts with the components, with the KF740 incorporating our latest developments in transducer technology. All offer neodymium magnets, with the dual 2.5-inch (again, 1.4-inch-exit) HF compression drivers utilizing a specially treated titanium diaphragm that provides additional hardness and improves response.

The two 8-inch MF cone drivers are driven by 3-inch voice coils, with their sealed aluminum chassis providing additional thermal dissipation while also preventing any unwanted modulation from the LF devices. The four 10-inch LF transducers are outfitted with 2.5-inch voice coils.

Digital Procesing
Proprietary EAW Focusing technology, provided by the UX8800 digital processor, offers specially tailored alignment and driver processing algorithms that further optimizes performance.

It eliminates the traditional characteristics of “honk” and “splashiness” that can plague horn-loaded loudspeaker designs.

The honk of a horn is normally heard in the lower frequencies of its band pass, while splashiness (an attribute of compression drivers) is usually heard at the highest frequencies and obscures the fine detail in instruments, such as cymbals.

Likewise, cone drivers have inherent resonances in their upper frequency range that result in “muddiness” in the middle of the vocal range.

These HF and LF behaviors combine to produce a sonic signature commonly referred to as “coloration.”

The roots of EAW Focusing began with a proprietary, software-based spectrograph for acoustical analysis. This spectrograph, along with other analysis tools, was used to investigate the unprocessed responses of HF and LF subsystems in various directions and at various levels.

The analysis allowed various performance anomalies to be isolated from each other.

In this way, those anomalies that were linear, time invariant, spatially consistent, and therefore correctable, could be distinguished from anomalies without those characteristics, and which were therefore not correctable.

The EAW UX8800 digital processor that delivers EAW Focusing parameters to the KF740.

The next step was to apply appropriate DSP to the correctable anomalies. Another analysis was performed on the standard, universally used DSP algorithms.

This test proved that these standard algorithms simply did not produce filters with response shapes, temporal behaviors, or resolutions with anywhere near the required precisions or accuracies necessary to correct those anomalies to which they were being applied.

To solve this dilemma, we undertook development of custom DSP algorithms specifically engineered to provide the required filters for correcting loudspeaker anomalies.

The resulting filters had to possess the required precision and accuracy in both the frequency and time domain.

At the same time, any uncorrectable anomalies would have to be ignored by the filters. The anomalies and resonance problems cured by EAW Focusing are very specific to each loudspeaker design.

Completing this package, the vertical output can be tailored to match the requirements of any space by varying the splay at the rear of the enclosures as directed by EAW Resolution software.

The resultant configuration repeatedly produces a continuous, coherent wave front of extended range, high-resolution audio over the entire defined coverage area.

Scale & Packaging
It was also very important to us that the KF740 be as lightweight and efficient as possible.

Especially at the present time, given the state of the economy, minor considerations such as cartage have become especially big factors in the purchasing process for sound companies.

Extensive 3-D modeling was deployed to develop a rugged yet lightweight exterior-grade Baltic birch plywood enclosure, protected by wear-resistant textured coating and powder-coated steel grille.

In combination with the neodymium transducers, each module checks in at just over 100 pounds.

Its profile is identical to that of the KF730 in terms of height and depth (13 inches by 17.5 inches), while the KF740 is about 40 percent wider at 40.1 inches.

These compact enclosures require a minimum of truck space, and caster pallets for easy transport are available.

The dual Neutrik Speakon STX Series NL8 connectors on the rear panel provide access to each of these sections separately. The low frequency sections; side and front, are wired separately but can be driven by the same DSP channel.

The integral rigging system is constructed of structural high-strength aluminum to meet the weight goals, strong enough to hang a 16-module array at a 10:1 design factor.

After completing the design using a solid modeling program, we utilized Finite Element Analysis software to conduct virtual pull tests that provided invaluable information in furthering the integrity of the rigging, followed by actual physical failure testing.

The Neutrik NL8 connectors on the rear panel provide access to each section separately.

We also advise that all arrays be structurally verified with EAW Resolution software, which calculates (in real time) the stress load on all rigging points of every enclosure. This is critical because every array is different.

Users can quickly and easily construct vertical arrays ranging from 4 to 16 enclosures. In most cases, choosing the correct points on the multi-position fly bar will aim the array, although some angled configurations will require pull back using an inverted fly bar. Boxes are quickly secured with precision quick-release rigging pins.

The rigging system permits box-to-box angles of 12, 9, 6, 3, and 1.5 degrees, while always keeping module faces contiguous. Under normal conditions, easily hung arrays can cover listening areas ranging from approximately +10 degrees to -70 degrees along the vertical axis.

The rigging also accommodates “radical” array configurations that can cover any vertical angle. Accessory adapter bars for easy configuration within KF730 and KF760 arrays are also available.

Inherent within all of our goals was one consistent theme: to maintain and further the EAW heritage of consistent pattern control while attaining output levels comparable to larger systems.

Preliminary customer response indicates that with the new KF740, we’re on the right track.

Nathan Butler serves as principal design engineer at EAW.

EAW Website

SurgeX Begins Partnership With D-Tools

SurgeX has partnered with D-Tools, Inc., joining their Manufacturer Vantage Point program.

The D-Tools Manufacturer Vantage Point Program is a way for manufacturers to support their dealer network and help streamline the system design process - making it easier for dealers to specify products.

The D-Tools Manufacturer Vantage Point program is designed to help provide system integrators with the most up-to-date product information to over 2,500 companies using D-Tools System Integrator software.

D-Tools MVP members are dedicated to helping companies streamline the design process and making it easier for system integrators and installers to provide accurate proposals to their clients.

“We are pleased to add SurgeX to our list of partners in the MVP program,” said Adam Stone, President of D-Tools.

“They continue to be a leader in the power protection industry and we know this will be a rewarding partnership for both companies.”

SurgeX Website

D-Tools, Inc. Website